Tevya Desiderio

Work as a Set Electric with LED, Tungsten, & HMI lighting.

Transport, layout, secure, and then remove small trees, shrubs, and bushes alongside a country road.

Working on a sound stage building a replicate set of a home.

Production Office Coordinator. Working directly with Producers, Accounting, Department Head, and local vendors to complete production on a feature film.

Pick up a Box Truck from a rental center. Pick up and load in truck production/location supplies, lighting and grip equipment, and camera equipment from multiple locations. Used a combination of grip knots and ratchet straps to secure equipment and make everything safe in the back of the truck.

Worked with 1st Assistant Camera to help with lens changes and media management. Filmed with an Arri Alexa Mini on Cfast cards, stored on dual external LaCie hard drives.

Run and Gun street interviews.

Allocate Office Space, Cast & Crew Housing, Specialty Gear, Hire Crew, Distro Call Sheets & All Morning Paperwork, Create & Print Sides, Edit and Distro Production Reports.

Work with 100+ Background, assisting with paperwork, making sure everyone saw HMU, and getting people to and from set safely.

Work with HMU, Wardrobe, and first AD to coordinate Principle actors and background. Handled paperwork for actors and distributed and handled the walkie talkies.

Work with Director/Cinematographer directly.

Operated as The Paperwork P.A., Ran Background, and maintained the responsibility of the walkie talkies.

Grip / Electric swing flying with a couple of HMI's, 6x's, 12x's and Dolly.

Acted as a Grip / Dolly Grip on the campus of Massachusetts Institute of Technology.

Additional Set Production Assistant, locked off the streets of downtown Providence Rhode Island.

Hire all of the P.A.'s, allocate locations for trucks and gear. Pick up trucks and load gear to location and load out. Lock off areas of the Casino leading a team of P.A.'s.

Key Grip/Dolly Grip on Fisher 11 Dolly with multiple dolly/jib combination moves & 3 ton truck.

Additional Set Production Assistant. Locked off the set in multiple downtown Boston locations.

Run & Gun Style Documentary Shoot, working primarily on Sony FS100.

Traveled throughout New England with a Crew and Assisted the Director and First Assistant with the Camera and lighting.

Airport Runs, Driving crew to Tech and Directors Scout, Set, and Hotels. Facilitate Lunch/Coffee Orders and Runs, as well as supply and any last minute runs.

5 Ton Package. Also operated as Dolly Grip.

Production Assistant and Driver. Picked up and transported Director, Producers, and Production Crew members to and from the Airport, Set, and Hotels.

Work with Director of Photography to help achieve desired image with lighting. Take behind the scenes photography. Work as 2nd camera assistant slating takes. Act as production assistant helping out all departments.

Additional Set Production Assistant. Made runs and locked the set off.

Use all media to compile an edit, work with and tweak all audio and imagery to create a product for an end user client.

Created all of the sound design and audio to go along with visuals.

Write, produce, edit, and shoot a spec commercial.

Work along side camera team and lighting team to effectively set up each scene.

Set up lighting and controlling devices, including rigging practical light bulbs from the ceiling of a multimillion dollar recording studio.

Provided Camera, Rented 16-35mm Canon L Series lens. Borrowed a Manfrotto professional video camera tripod and a doorway dolly, as well as 4 ARRI Tungsten Fresnel fixtures. Set up production in a professional recording studio during an Artist tracking session. Record each artist individually with multiple shots and movement.

One scene lit in a bar with Kino Flo and Source 4 Ellipsoidal lights, providing soft fill and ambient lighting with sharp focused beams of lights.

As Second Camera Assistant, I had the great pleasure of working with the camera team, as well as the Director, the DP, Script Supervisor, and A.D. My responsibility was to mark each take in the scene with the slate. I also assisted with lenses, settings, and media.

Work with the crew to create an exterior night scene inside of a sound stage. Rigging mini Kino Flo lights inside the vehicle, par cans outside simulating lights passing over head, and Mole Richardson midget fixtures behind the vehicle to give the look of a car.

Three point lighting in a home studio. Key, fill, and a nice kicker/rim. I mixed in different colors to accent and juxtapose the wardrobe colors of the Artist's shirt and hat.

Worked with the Director of Photography, Gaffer, and Key Grip to set up lights and controlling devices for each scene.

Worked with bullet points and created a script, from the script I planned the shoot. All on location exterior daytime. I also edited the piece in Premiere Pro CS6.

Worked as swing, Grip/Electric. INT/EXT shoots, working directly with the Director of Photography. Multiple locations and cities.

Worked as swing, G&E, assisted with props and set design.

Load and unload all equipment, set up lights and controlling devices, worked with Director of Photography to set lights and camera. Operated doorway dolly on all camera movement.

Mole Richardson fresnel lights and a Canon C300. Working in a night club, full use of stage lighting.

Provided the proper lighting set up for optimal exposure and contrast ratios.

Create lined script, storyboards/shot list with Director, 1st A.D., Production Designer, and U.PM. Create digital lighting, camera, and power plots, create scene/shot breakdowns and equipment list. Supervise and manage camera, grip, electric, and art departments for lighting, composition, scene change, and camera movement.

Worked with Director, Production Designer, U.P.M., and 1st A.D, to create lighting and camera plots, lined script, shot list, storyboard, schedule, breakdown. Filmed on a sound stage using Mole Richardson lighting, pulled power from a 600A Distro to 100A Lunch Boxes. Full crew operation like union shoot.

Two page short script a crew of independent filmmakers made into a short film. Shot in one room we used practical light blended with some specialty CFL fixtures and a battery operated LED fixture. No storyboard, lined script, shot list, or schedule, a pure run and gun exercise.

Independent production I used Mole Richardson Fresnel and Soft lights. Worked interior and exterior scenes, adjusting light distance, focus, and gels for exposure per the director of photography's discretion.

This was a true run and gun independent film. Shot on Canon 7D, we used 1000W par cans, the sun, and practical light to shoot. Hollywooding bounce cards, tying down stands, boom operating, mixing audio, to helping fix and operate the blood gag, this shoot had it all.

Create storyboards and lighting/camera plots for studio work, as well as shooting only in available light. This was actually a great introduction into the world of filmmaking, compositions, lighting, and strategy of putting together a production. Six people had twelve pictures to plan out and execute a story.

I worked on a Joss Whedon independent feature. I handled petty cash, picked up and dropped off requested items from various locations. I operated, loaded, and unloaded a box truck multiple times throughout shoot. Successfully requested and received various donated pastries from a bakery to use in a scene.

Independent style shoot in New England during winter. Stood next to stands and lights to make sure they were sturdy. Assist electric dept. with running and wrapping wires, helped art dept. organize and arrange props, basically a work horse for the set, helped with any major adjustment or scene change.